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I think I have always been interested in music. I still have a school report from a Catholic pre-school, I believe I was four years old, on which the sisters noted my interest.  After passing through school recorder groups, school choirs, and trying various instruments, my serious interest in music was aroused when I took up the classical guitar, initially to get out of games lessons. In my 1970s, grammar school games felt little less than organised bullying!

My first guitar teacher, John Canning, to whom I owe so much, was completely dedicated to bringing out the best in his pupils. Along with the finest tuition, he often used to introduce his pupils (even beginners) to advanced works way before we were technically able saying “if a thing is worth doing, it’s worth doing badly.” Through the study of great works I gained an appreciation of the classical guitar repertoire and came to love its delicacy and intimacy of tone; for me there is no instrument like it. John became an Alexander Technique teacher and his teaching was strongly influenced by his knowledge of this technique.

Following these lessons I studied at the Guildhall School of Music with Gerald Lee and ended up working as a classical guitar teacher. To enhance my teaching I did some additional study of the Kodaly method and even now this still influences my approach to music tuition. The thing that most people remember about the Kodaly method is the seven hand signs which denote the notes of the scale but there is much more to it than that. I remember singing in a choir on a Kodaly summer school when the very strict Hungarian conductor was following a score, singing one part and signing two other parts simultaneously, one with each hand, I was struck by her musicianship!

Guitar music is beautiful, complex, intricate - the sound is small and pieces are rarely very long. That is the contrast that makes me enjoy singing with Royston Choral Society, I welcome the opportunity of learning large works, often written to the glory of God, and I enjoy being part of such a big sound, especially when we have an orchestra with us.

My favourite guitar pieces

I’ve been asked to recommend my favourite pieces of music and although I like a wide range of classical music I thought that I would mention the pieces of guitar music that have had the greatest impact on me, I have listened to these pieces since my school days.

First, Recuerdos De La Alhambra by Francisco Tarrega played by Andres Segovia. Tarrega taught Emilio Pujol who taught others who taught John Canning who taught me so I feel a connection with his works. This piece uses a technique called tremolo which is as near as the guitar can get to a sustained sound https://www.youtube.com/watch?v=sdaPoUNk5R8

Next, Bach’s Fugue in A minor. Bach arranges well for the guitar, as it does for many instruments, and I feel that the guitar can show aspects of Bach that other instruments can’t, although purists often disagree. This link is to the piece played by Julian Bream https://www.youtube.com/watch?v=2mZvdGAGlOo

One of my favourite guitar composers is Heitor Villa Lobos who combines classical form with Brazilian tonality. Here is Maria Callas singing Bachianas Brasileirs ( Bach in a Brazilian style!) No. 5 which was written with a guitar accompaniment; so well written it could be played as a solo piece of music. https://www.youtube.com/watch?v=P4wh5ScYcIw

Finally, in Spain there is a well-known poem by Jimenez called Platero Y Yo (Platero and I) about the author and his donkey who he confides in while he works. The Spanish composer Mario Castelnuovo-Tedesco wrote a beautiful suite of pieces to be played in conjunction with a reading of this poem. https://www.youtube.com/watch?v=WMpPUR2gWgA

1. What is your earliest memory of music in your life?
Listening to Noel Harrison singing The Windmills of Your Mind on the radio in the late 1960s.  This introduced me to the music of Michel Legrand (although I did not realise that at the tender age of five). I still adore his music - listen to I Will Wait For You from the film The Umbrellas of Cherbourg - that's another banger.  Noel Harrison (son of Rex Harrison) was not the best of singers.

2. What was your first 'public performance' of music/ drama/ or both?
Probably performing as one of the brothers in Joseph and his Technicolour Dreamcoat when I was at school.
 

3. Who is your favourite composer/ songwriter, and why?

That’s a difficult question.  It really depends on how I’m feeling.  Songwriter - Regina Spektor, a Russian/American singer, is an accomplished writer of lyrics and that woman can bang out a good tune.  She also takes risks with her voice which adds sparkle to her songs.  Try her songs New Year, Eet and Samson for a good introduction.

Composer - as an organist, I’m a big fan of Herbert Howells.  Lockdown introduced me to the music of the Icelandic composer Olafur Arnalds - he wrote the theme music to Broadchurch.  It’s a little minimalist for some (my wife in particular who hates it) but for me, it is really beautiful.

4. What composition/ piece/ song would you recommend to a friend to brighten up their day?

One Day Like This by Elbow.  I love the counterpoint in the song, the string arrangement and think this would make a good wedding song.

Also, as a learner of the Italian language (although this is not a pre-requisite), Volare by Domenico Modugno is pure sunshine. I’ve experimented on various sad adults - singing the Italian lyrics to a recording of the song - and have had a 100% success rate.

5. Do you have a musical 'claim to fame'?

I achieved 139 marks out of 150 to gain a distinction in passing my Grade 8 organ.  And this was after registering the organ wrong for my first piece and having to start again.

Tom Wornham (top left in the photo from his days in amateur dramatics) from the basses recalls how he found his way to the Royston Choral Society after a 20 year ‘lay-off’ from singing and drama following rejection at school.

My grandmother was probably my first introduction to music – she was organist at Standon Church and she played the piano at home. Otherwise neither my other grandparents nor my parents were particularly musical. It was while at school, aged about seven, that our teacher played the 1812 Overture. He focussed on the cannons in the last movement and it grabbed my imagination – I can remember it like it happened yesterday.

I was in the school choir and can remember singing ‘Once in Royal David’s City’ in my church when I was about eight. I went on to sing with the choir for five years after trying the violin. Then I moved to a new school and, aged 12, I was rejected from the choir! They never told me why, but can you imagine how that felt? I gave up singing and drama for 20 years.

When I was 32, it all kicked off again. I knew about the Royston Choral Society, but I was asked to audition and bolted! I did ten years with Ware Operatic – I absolutely loved doing Gilbert and Sullivan – so witty and clever. But although I enjoyed it, it didn’t grab my soul – I missed singing in harmony with a group of people. So I returned years later to the Choral Society because a whole bunch of people from my village also sing in the choir.

I perform amateur dramatics and love being the centre of attention but, when I’m singing with the Royston Choral Society alongside people who are more skilful than me, I’m happy to be part of the ensemble. Don’t get me wrong – I’d love to be up at the front if I was better!

Apart from choral music, I love Cole Porter and Bernstein. When I was little I watched ‘Sesame Street’ on TV and was introduced to Victor Borge – what a character – I love him! When I’m travelling I may listen to ‘In the Mix’ on Radio 3 – it’s new classical music. Unlike Classic FM, they don’t play the same old baloney, and I hate the ads.

What attracts me to the choir? It’s singing some of the greatest music every written with other people. We all imagine what we’d choose for ‘Desert Island Discs’. Thinking about our upcoming concert, one of my choices would be 'In Paradisum’ from Faure’s Requiem. It’s just out of this world – ethereal!

After the Manchester Arena bombing…

After escaping the deadly attack at the Manchester Arena with her son, Cath Hill suffered with survivors’ guilt. She helped create a choir for people, like herself, unable to get back to normal life. The first time they sang together they were 18 singers, from there the choir grew to around 120 members.

Cath Hill continues to research how young people get support after disasters. She says “The choir is still going strong, although I decided to step back from it after the pandemic. The choir had given me a focus, and a chance to do something positive.”

To read more, click here https://www.theguardian.com/lifeandstyle/article/2024/may/15/moment-that-changed-survived-terror-attack-choir

The Science of Singing Along

“We can’t all talk together at the same time, but we can sing together.”

This 16-minute episode in the Science of Happiness Radio 4 series, explains why singing with others makes us happy and can even help noisy snorers! Apparently it’s all about mood-boosting oxytocin; not released when you sing alone.

A phrase that sums up the purpose of singing informally with others… ‘It’s not about perfection, it’s about participation.’

To listen, click here https://www.bbc.co.uk/sounds/play/p0hsc5cd

Alto Sue Collins writes…

In 1997 I joined a scratch choir of 500 to 'Sing for the Homeless' the Messiah under the baton of Sir David Willcocks at Douai Abbey in Berkshire.  All proceeds went to the Cardinal Hume Centre Trust for the Homeless.

Sir David conducted us two years later to sing Bach's Christmas Oratorio Parts I-III and two years later again to sing Parts IV-VI, all at Douai Abbey. Very memorable occasions.

Fellow alto Sue Pegram recalls a VIP grate-crasher…

At a Parish Choir rehearsal for a wedding last year, we were ‘gate-crashed’ by composer (now) Sir John Rutter who had heard us rehearsing [two of his works] The Lord Bless You and Keep You and The Music’s Always There with You – a new piece for us to learn.

Our choirmaster was oblivious as he had his back to him, but the whole choir could see this familiar figure ambling towards us!  Dr Rutter (as he then was) even sat in the church porch to listen to the wedding service the following Saturday!

Notes from a new Alto – Pauline Rowe

Joining the Royston Choral Society felt a little daunting for me at first.  Although no audition is necessary, the standard of the Society is very high and many of the members have a professional or semi-professional background and years of experience.  I, on the other hand, wasn’t even sure which vocal range I should be in. I thought I’d give soprano a try but soon realised it was well beyond my capabilities. I’m much more comfortable with alto.

I was also concerned about my poor sight-reading skills but fortunately there is a wealth of support material available.

Despite my lack of experience, I found that the members were welcoming to a new face and already feel as if I’m making friends. It’s rewarding to learn the material, and rehearsals are always enjoyable with Andrew [O’Brien] who, although demanding the best from us, does so with a light sense of humour.

A view from the choir…or the piano stool?

Alto Lyn Grove recently joined the Choral Society. Below she reflects on her musical route to Royston and her first RCS concert at the end of June.

For most of my life, music has played a fairly prominent part. I played clarinet and then flute when I was younger and, although I took a somewhat convoluted path to it, I did go on to take a degree in music (thanks to the encouragement of a particularly lovely flute teacher in Bangor, North Wales).

Despite this, until the last couple of years I had never sung in a choir and nor was I very familiar with vocal repertoire. So what has brought me to the Royston Choral Society?  Well, over the last few years, as my kids have been growing up and I’ve had a little more free time, I have been trying hard to improve my piano playing. Through this I discovered a love for lieder and other song repertoire (not that I can play much of that repertoire, but one can dream!) But more importantly, this made me realise how much I miss being part of a music ensemble. When I was at university I thought playing in an orchestra was the most amazing feeling - something unique, that nothing else could equal. So I have been amazed to discover that singing in a choir feels very much the same - it’s that feeling of being buoyed up on the swell of sound and gorgeous harmonies, but at the same time the more humbling sense of being a small part of a greater whole. It’s the creation of something amazing, sometimes so powerful, often sublime.

I may not be a great singer (but don’t worry - I won’t spoil anything, I may just mime a little at times!) but I’m loving being a part of the choir - thank you!

As a child I always loved Welsh folk songs and hymns. I was always drawn to their beautiful melodies. Suo Gan and Lisa Lân were favourites as were hymn tunes Llef, Tydi a roddaist and Calon Lan.

Growing up in Merthyr, there was no way you could hide away from the beautiful hymn Myfanwy written by local composer, Joseph Parry. The singing in my local chapel was always quite extraordinary.

When I started playing the piano, I immediately fell in love with Beethoven.

Getting into county and national youth ensembles widened my tastes and I was drawn to Britten, Shostakovich and Stravinsky. 

As a child, I would go to a huge variety of concerts and operas. I loved classical opera but also used to enjoy going to rock and heavy metal concerts. I was always open to all types of music (except Graham Kendrick). I remember one week watching a ballet in Cardiff, travelling to Birmingham to see Blur, then singing in a Cymanfa Ganu [A Welsh festival of sacred hymns]

A track I inherited Suo Gan .

One to pass on Myfanwy

Shrewd observations from a choir member that raise a smile because it’s so well observed. The commandments were shared by one of the RCS tenors but originated in the USA – so it would seem that choral singers are the same the world over!